Saturday, 22 October 2016

2016 Latest Hollywood Movies Reviews And News

In this article we write a complete list of 2016 latest hollywood movies reviews and news. In this article we write a list of horer movies missons movies civil war movies based on jungle movies batman movies superman movies Warcraft movies based on animal movies based on biography drama comedy adventure based on full action movie based on full romance movies based on adventure action and other type of movies details are provide in this article. A good collection of all fantastic movies 2016 are here

Keanu Reeves is a Louisiana attorney and Renee Zellweger the mother of his noncommunicative client in a courtroom drama directed by Courtney Hunt.
Everybody lies. For Richard Ramsay, a lawyer defending an uncooperative murder suspect in The Whole Truth, this is the only truth. It drives the legal strategy he walks us through, in impassive voiceover narration, in what might have been a tantalizing whodunit about the less-than-gleaming gears of justice but is instead a curiously uninvolving exercise in procedure.

Rather than tightening the screws and getting the blood pumping, director Courtney Hunt allows the viewer ample time to contemplate why Renee Zellweger’s unrecognizability has become politicized, why Keanu Reeves doesn’t do more comedy and why a drama toplined by two marquee names is slipping into theaters, with a simultaneous VOD release, virtually unannounced.

The answer to the last question is the flat melodrama that Hunt has wrung from a screenplay credited to Rafael Jackson. The filmmaker’s second feature, after 2008’s Frozen River, is set and filmed in Louisiana’s St. Bernard Parish, near New Orleans. It evokes the region’s clinging humidity, but with none of the urgency or narrative power of the earlier film’s frigid New York setting. Amid the story’s lurid peeks behind showy wealth to domestic horrors and marital secrets, the characters barely come to life. Nerve-pinching musical notes and venetian blind shadows don’t churn up even a modicum of noirish suspense.

Keanu Reeves
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Reeves’ motorcycle-driving Ramsay first appears as a grimace behind shades, arriving at the courthouse to defend a high school student in an open-and-shut case of patricide. The murdered man, Boone Lassiter (Jim Belushi), was a hotshot lawyer and Ramsay’s friend. Lassiter’s teenage son, Mike (Gabriel Basso), has confessed to the fatal stabbing, and now leaves Ramsay hamstrung by his refusal to discuss the matter. The attorney is resolute in his belief that trial witnesses are a bunch of lying liars. Punching holes in their stories, however obliquely, is his only option when his client won’t talk. While Mike doodles and Ramsay assassinates the dead man’s character, widow Loretta watches the proceedings in a state of seeming confusion and anxiety, with Zellweger’s performance registering a jittery mix of disillusion, fear and trophy-wife entitlement.

That the judge (Ritchie Montgomery) appreciates a swift trial is duly noted; this is a story of workaday legal mechanics, not lofty jurisprudence. Hunt’s interest in the strategic details of criminal-trial culture gives the film a matter-of-fact verisimilitude, if not a pulse. (The director, who has a law degree, has helmed episodes of Law & Order: Special Victims Unit, and producer Elon Dershowitz is the son of attorney Alan Dershowitz.) As the movie deconstructs such core aspects of the system as jury selection and attorneys’ theatrical maneuvers — matters handled with flair and intensity in The People v. O.J. Simpson: American Crime Story, to cite an extraordinary recent example — the effect is one of academic interest, not gripping storytelling.

Renee Zellweger was photographed July 20 in Pacific Palisades.
READ MORE
Renee Zellweger on Aging in Hollywood, Gender Inequality, Politics and Her Six-Year Break
Lending a bit of oomph is the arrival of Ramsay’s new junior colleague, Janelle Brady (Gugu Mbatha-Raw), just in time to provide helpful optics in the courtroom; she’s what Ramsay calls “mixed-race window dressing.” But Janelle gets a shot in the spotlight, proving her chops with an ingenious cross-examination of a character witness. And, Reeves’ wooden line readings notwithstanding, there are flashes of intriguing tension between him and Mbatha-Raw, a compelling performer who remains underused since her eye-catching turns in Belle and Beyond the Lights. Janelle’s personal baggage, the unhappy facts coolly elicited by her new boss, proves more engrossing than the Lassiters’ sordid saga, which is revealed in eleventh-hour testimony and flashbacks to the villainous Boone’s poisonous interactions with his family.

Everyone is clearly hiding something. But more pressing than the mystery of Mike’s silence and his parents’ toxic relationship is the sense of a missed opportunity that permeates the movie, sapping its final twist of the solar-plexus wallop it should have delivered.

Keanu Reeves is a Louisiana attorney and Renee Zellweger the mother of his noncommunicative client in a courtroom drama directed by Courtney Hunt.
Everybody lies. For Richard Ramsay, a lawyer defending an uncooperative murder suspect in The Whole Truth, this is the only truth. It drives the legal strategy he walks us through, in impassive voiceover narration, in what might have been a tantalizing whodunit about the less-than-gleaming gears of justice but is instead a curiously uninvolving exercise in procedure.

Rather than tightening the screws and getting the blood pumping, director Courtney Hunt allows the viewer ample time to contemplate why Renee Zellweger’s unrecognizability has become politicized, why Keanu Reeves doesn’t do more comedy and why a drama toplined by two marquee names is slipping into theaters, with a simultaneous VOD release, virtually unannounced.

The answer to the last question is the flat melodrama that Hunt has wrung from a screenplay credited to Rafael Jackson. The filmmaker’s second feature, after 2008’s Frozen River, is set and filmed in Louisiana’s St. Bernard Parish, near New Orleans. It evokes the region’s clinging humidity, but with none of the urgency or narrative power of the earlier film’s frigid New York setting. Amid the story’s lurid peeks behind showy wealth to domestic horrors and marital secrets, the characters barely come to life. Nerve-pinching musical notes and venetian blind shadows don’t churn up even a modicum of noirish suspense.

Keanu Reeves
READ MORE
Keanu Reeves' TV Comedy 'Swedish Dicks' Gets Second Season
Reeves’ motorcycle-driving Ramsay first appears as a grimace behind shades, arriving at the courthouse to defend a high school student in an open-and-shut case of patricide. The murdered man, Boone Lassiter (Jim Belushi), was a hotshot lawyer and Ramsay’s friend. Lassiter’s teenage son, Mike (Gabriel Basso), has confessed to the fatal stabbing, and now leaves Ramsay hamstrung by his refusal to discuss the matter. The attorney is resolute in his belief that trial witnesses are a bunch of lying liars. Punching holes in their stories, however obliquely, is his only option when his client won’t talk. While Mike doodles and Ramsay assassinates the dead man’s character, widow Loretta watches the proceedings in a state of seeming confusion and anxiety, with Zellweger’s performance registering a jittery mix of disillusion, fear and trophy-wife entitlement.

That the judge (Ritchie Montgomery) appreciates a swift trial is duly noted; this is a story of workaday legal mechanics, not lofty jurisprudence. Hunt’s interest in the strategic details of criminal-trial culture gives the film a matter-of-fact verisimilitude, if not a pulse. (The director, who has a law degree, has helmed episodes of Law & Order: Special Victims Unit, and producer Elon Dershowitz is the son of attorney Alan Dershowitz.) As the movie deconstructs such core aspects of the system as jury selection and attorneys’ theatrical maneuvers — matters handled with flair and intensity in The People v. O.J. Simpson: American Crime Story, to cite an extraordinary recent example — the effect is one of academic interest, not gripping storytelling.

Renee Zellweger was photographed July 20 in Pacific Palisades.
READ MORE
Renee Zellweger on Aging in Hollywood, Gender Inequality, Politics and Her Six-Year Break
Lending a bit of oomph is the arrival of Ramsay’s new junior colleague, Janelle Brady (Gugu Mbatha-Raw), just in time to provide helpful optics in the courtroom; she’s what Ramsay calls “mixed-race window dressing.” But Janelle gets a shot in the spotlight, proving her chops with an ingenious cross-examination of a character witness. And, Reeves’ wooden line readings notwithstanding, there are flashes of intriguing tension between him and Mbatha-Raw, a compelling performer who remains underused since her eye-catching turns in Belle and Beyond the Lights. Janelle’s personal baggage, the unhappy facts coolly elicited by her new boss, proves more engrossing than the Lassiters’ sordid saga, which is revealed in eleventh-hour testimony and flashbacks to the villainous Boone’s poisonous interactions with his family.

Everyone is clearly hiding something. But more pressing than the mystery of Mike’s silence and his parents’ toxic relationship is the sense of a missed opportunity that permeates the movie, sapping its final twist of the solar-plexus wallop it should have delivered.